Javier Bardem plays ‘Blanco,’ the owner of a scale factory in Spain. “Everything must have balance,” he will say. But it’s no shock that the image of scales represents justice, much of which Blanco skirts in this movie by being rich and powerful. Bardem is the undisputed star of this film. He plays a man we initially like due to his charm, and, for a short moment, believe his authenticity. He takes an interest in his employee’s lives — it seems out of care. But before long we realize it’s not care but practicality, and later out of worse things like vanity, hubris, and, of course, greed.
Drawing From Other Movies — While Knowing What it is
“The Good Boss” draws on inspiration from other movies. Most notably, I could not help the parallels between the ‘do-anything-to-survive’ Blanco and the handshake, palm-greasing demeanor of Liam Neeson in “Schindler’s List.” Blanco — via Bardem — has that kind of face and demeanor that is most alive when he’s being phony. Watch him explode into character as he, dressed superbly, shakes hands and trades smiles with employees, businessmen, and, later in the film, a governing body that means to honor him with a ‘Business Excellence’ award.
The film also reminded me of the off-kilter comedy “Oscar” starring Sylvester Stallone that came out in the ‘90s about a mobster who decides to go straight while everything goes wrong. Very little goes right in “The Good Boss” for anyone. That Blanco makes it seem as if everything is within his control is where the film’s tragic comedy comes from.
The movie covers a range of topics, from layoffs, to cutting corners, to meddling in Blanco’s employees’ lives, and more. The film, written and directed by Fernando León de Aranoa, is very entertaining. It’s at its most fun when we believe that Blanco honestly has some of his employees’ best interests at heart (trying to save the son of a shop worker (Celso Bugalla) and fix the marriage of his Head of Production (Manolo Solo) get the most screen-time). A businessman meeting with an employee’s wife to get her to stay in the marriage isn’t something that happens in reality. But in the world of “The Good Boss,” we believe it.
Commentary on Corporate Greed and Unethical Practices
The film is also entertaining as it peels apart its many layers, from commentary on corporate greed, to Capitalism, to conspiracy and cover-ups. The dialogue written by de Aranoa is on-the-nose yet humorous, such as one scene when Blanco calls a policeman a socialist because he won’t vacate a protesting ex-employee from a public space across from his factory’s entrance. De Aranoa is also very deft in writing Blanco’s privilege. No one in their right mind would attempt half the things that Blanco does in this movie, and it works in tandem with Bardem, who delivers the lines in the manner of a man who knows his lies are sham, but desperately tries to stay in denial so others won’t catch on.
“The Good Boss” is pleasing in all its aspects. It expands slowly, brining you into Blanco’s world, where you can’t help but want to see where it goes. It has suiting cinematography; Pau Esteve Birba allows the camera to follow Blanco around like a manic apprentice. The film’s shots are pristine, careful, and methodical — much like Blanco himself. The acting by all involved is pleasing. Bardem is the most fun to watch, but everyone, from Blanco’s wife (Sonia Almarcha), to the factory’s estranged employee (Óscar de la Fuente), give apt performances. Another of my favorites is the factory guard, played by Fernando Albizu, who offers comic relief in the way he comments on the protestor’s selection of verse, claiming it’s not ‘poetic’ in the way it’s phrased. The addition of an intern who also happens to be a family friend (Almudena Amor), only complicates things.
A Very Good Portrait of Business Dishonesty
The film’s moments of drama are also well done, and “The Good Boss” gives you the impression that it knows who the guilty parties are, while also giving you the impression that they’ll never pay for their crimes. It’s also a portrait of manipulative business practices twisted with ill-found logic. There’s only a couple of moments in the film where Blanco ever says what he really means (once in a grocery story, once in his office), and most of the time he plays the victim card while creating, in his wake, victims.
But at the end of the day, “The Good Boss” is a very good film. It immerses you fully in its proceedings. It also mixes genres without ever pulling your out of the picture, and features Javier Bardem at his best. Here he is not playing a megalomaniac or serial killer. Nor is he playing even someone as high-profile as Jordan Belfort from “The Wolf of Wall Street.” Blanco is the type of businessman we’ve heard about but not seen. His methods range from unethical to heinous, and the film’s ending — perfect — is perhaps the most cynical part of the whole movie. Or maybe it would be that way if it wasn’t so unabashedly honest.
“The Good Boss” is not currently available for streaming. It is opening today at Laemmle’s Royal Theater in Los Angeles.
In addition to the August 26th release, the film will rolling out across the country and in the following LA area theaters on Labor Day weekend: Laemmle’s Town Center (Encino), Laemmle’s Glendale Theater (Glendale), Laemmle’s NoHo (North Hollywood), Laemmle’s Claremont (Claremont 5), Laemmle Newhall (Santa Clarita), Riviera Theater (Santa Barbara), and Edwards Westpark 8 (Irvine). For a full list of theaters and dates please see the website HERE.
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